Chapter 1 How to Practice

Transcription

1 Chapter 1 How to Practice Typically, one does not begin learning a challenging piece of repertoire at performance speed and with all voices playing. Textures are assimilated slowly and with disciplined methodology so that the piece can be learned accurately and executed fluently. The same process holds true for one learning to improvise, for all of the templates (or textures) that one uses must be absorbed slowly to allow for complete mastery and control. To this end, templates must be divided into their component parts if they are to be fully integrated into the performer s lexicon. The following approach, outlined in the diagram below (Figure 1.1), will assist the improviser in developing a disciplined and structured method of acquiring templates. Figure 1.1: 60 Using the following exemplary template (Figure 1.2), this process of construction, deconstruction, and reconstruction can be carried out. 60 Ruiter-Feenstra, Bach and the Art of Improvisation,

2 Figure 1.2 Jean Langlais, Suite Médiévale en forme de messe basse: Meditation, Op. 56, mm & &? w w w Ó w w w œ First, the construction & is noted: chordal harmonies and an oscillating figure are found in the left hand, sixteenth note figurations occupy the right, and a melody is played in the pedal. Next, deconstruction is carried out, which involves separating the above template into its components. Throughout this process, one may wish to adapt and simplify the texture in order to render it more accessible. A simplified adaptation of the original template (Figure 1.2) is found in the following example. Figure 1.3: & œ nœ œ nœ œ nœ? ww ww œ œ? Ó. œ J œ œ n. j œ As one can see, the texture in the sustained chord layer has been thinned, making it easier to & œ œ œ nœ play. In addition, the sixteenth note pattern has been simplified, as its compass has been narrowed to lie more comfortably under the fingers than what is found in Figure 1.2. The next step in the deconstruction process is to practice each element of the template separately. After the individual parts have been mastered, all binary combinations are practiced, 45

3 i.e. hands together, left hand with pedal, and right hand with pedal. After one has gained comfort in all possible combinations of two, one is ready to go on to the reconstruction phase, in which the template is put back together in its entirety and used as the foundation of an extemporaneous composition. Analogously, the task of rebuilding an automobile engine requires this same process of construction, deconstruction, and reconstruction. First, one must observe how the engine is constructed. Then, after much study and digestion, the next step is to take the engine apart to separate its individual components. Then, after its construction has been thoroughly observed and its deconstruction meticulously carried out, the last stage of the project is to put the engine back together again to reconstruct it. This is not a perfect analogy, for an engine requires exact reconstruction if it is to work properly; when one patterns his improvisation after an existing composition, he does not replicate it verbatim. If this were the case, it would not be an improvisation at all, but merely a performance of the model itself. After a template has been mastered using the process delineated above, it is beneficial to rearrange the template into all possible scenarios. Rearranged examples of the above template by Langlais are given below (Figure 1.4 through Figure 1.6). Figure 1.4: 46

4 Figure 1.5: Figure 1.6: Rearranging templates into all possible scenarios will help the student develop independence of the hands and feet, the right hand from left hand, and so on. The approach introduced above, illustrating the construction, deconstruction, and reconstruction processes, outlines an effective method to assimilate compositional procedures on both a large and small scale. Thus far, the small-scale application has been addressed, which involves learning to mimic and adapt templates found in literature. The large-scale implementation of the construction, deconstruction and reconstruction paradigm involves modeling an improvisation after the formal design of an entire piece. For example, one may wish to pattern her improvisation according to the scheme of Louis Vierne s Berceuse from the 24 Pièces in style libre (Op. 31). In this instance, the construction process will disclose this work s 47

5 ternary form, comprised of an exposition, development, and recapitulation followed by a brief coda. Next, the deconstruction process warrants for each section to be broken into its smallest pieces for close analysis. Through this undertaking, phrase structure can be observed on both large and small scales, an essential task in comprehending how each individual phrase makes up the larger musical sentence. Furthermore, invaluable perspective is gained through noticing how musical thoughts, or sentences, combine to formulate paragraphs, and then entire chapters. Indeed, tightly structured, cohesive compositions provide wonderful blueprints for the improviser. Lastly, the model s formal design is reconstructed as an extemporaneous composition. Bear in mind that the improvisation may not necessarily be inspired by the harmonic language of Vierne, for only the structure of his Berceuse was of primary concern. In other words, the resulting improvisation may utilize a completely different tonal vocabulary from the composition upon which it was based; even so, it can remain loyal to the model s formal plan. Perseverance is a quality that the improviser must cultivate. It is inevitable that the student will encounter setbacks whilst learning to improvise; but despite delays in achieving success, one must be steadfast in his effort to learn. Otherwise, success will never be attained. Furthermore, tracking one s progress is an essential task in remembering what has been learned. To this end, a written journal and an aural catalog (made up of recordings) containing all of the techniques one has mastered are effective methods in retaining the information that has been absorbed. In addition, recording oneself is an indispensable tool because it helps formulate an objective view of the successes and shortcomings of a particular improvisation. When one is engrossed in the composition process whilst improvising, it is often difficult to maintain a realistic view regarding the quality of the performance. Either during the performance itself or 48

6 shortly thereafter, one s opinion of his improvisation is usually distorted by emotions and thus inconsistent with its actual quality. Therefore, a recording will allow the performer to take a step back and listen to his product in an objective light. In addition, allowing a period of time to pass between the date of the improvisation and the hearing of the recording will help one maintain an impartial view of the quality of his performance. This is simply because a temporal interval will allow one to forget minuscule details concerning his performance and thus erase possible misconceptions. It is imperative that the performer plays with a firm sense of pulse and precise rhythm. If one makes a mistake yet keeps the pulse regular, it is likely that the listener will not perceive this error. The reverse is also true: if one plays a note perfect improvisation yet obscures the pulse occasionally, the audience will most assuredly interpret this as a mistake. Perhaps this is because something so fundamental as a steady beat reaches the audience at its most primal level. When practicing, one must focus on keeping his improvisations tightly knit with defined formal goals. There are few things more soporific than listening to someone ramble, whether it be in words or tones. Next, one must develop a regular and frequent ritual of calisthenics; that is, scales, transposition, harmonization, contrapuntal exercises, and so on, must be practiced in saecula saeculorum. A set of index cards, each with a different task written upon it, such as practice Dorian scales, practice canons at the octave, and so on, will help one maintain a structured system of practice. Of course, one must commit to cycling through his set of index cards regularly. This is also an excellent reminder of the skills that have been learned. In conclusion, constancy of application is the only way one will learn to improvise. In Jeffrey 49

7 Brillhart s opinion, improvisation study actually require[s] more practice time than repertoire study. you will not learn to improvise if you do not practice Brillhart, Breaking Free, 7 50